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Haerts, Alice Boman and Honey Ltd. top this week’s Anti-Hit List

The nine years that separated the first two volumes of this side project by Heaven 17/Human League founder Martin Ware pales next to the gulf that preceded volume three: 22 years. This track is apparently intended as a “dark interpretation” of The Stooges’ plenty-dark ode to self-loathing (http://bit.ly/xGPBk). That it manages to out-bleak the shouty grind of the original can be chalked up mostly to the decision to talk-sing the lyrics. The results evoke Aussie anomalies Flash and the Pan (http://bit.ly/j4fuC5) and in the process render Boy George all but unrecognizable. (Music of Quality and Distinction Vol. Three), http://bit.ly/10j00wy)

9. CHVRCHES

“Gun”

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In this brutish era of month-long careers, the pattern usually goes like this: i) release a single that draws hundreds of raves from the blogosphere; ii) release a slightly less rave-worthy second single that draws hundreds of rationalizations; iii) dissipate whatever goodwill you’ve accumulated by releasing a succession of progressively lesser singles; iv) put out an album that nobody cares about. Then there’s this Glaswegian electro-pop trio. This is their fourth single. It’s as good as the last one (bit.ly/VEGNj4) and the one before that (http://bit.ly/S8HuU5). Bring on the album. (https://soundcloud.com/chvrches/gun)

If you suspect you’re only a week or two away from never wanting to hear Daft Punk’s “Get Lucky” (http://bit.ly/XK2hit) again, this U.K. act — a vehicle for one Peter Evans Pritchard — is a good place to turn next. Featuring the silky vocals of Femme, a.k.a. Laura Bettinson, a.k.a. the voice of Nigel (Radiohead) Godrich’s Ultarista (http://bit.ly/Jf39mT), it may be more circumspect about its debt to Chic, but the chorus does brush up against Diana Ross’s “Upside Down” (http://bit.ly/jJj8), the comeback hit written and produced by Nile Rodgers and Bernard Edwards of, yes, Chic. (http://bit.ly/199miUC)

6. THE INTERNATIONAL SWINGERS

“Gun Control”

The bassist is from the Sex Pistols, the drummer is from Blondie, the guitarist is from Billy Idol’s Generation X. The only guy you probably haven’t heard of is the other guitarist, Gary Twinn, a rockabilly devotee from Australia. Put that wild card together with Glen Matlock, Clem Burke and James Stevenson, and you end up with a bitter anti-gun screed that sounds like the perfect mixtape neighbour for Idol’s “White Wedding” (http://bit.ly/Cj92Q). (http://www.theinternationalswingers.com)

5. CASUAL CURIOUS

“’Til I Die”

When most of us refer to a “mixtape” these days, it’s either a generic description of a various-artists CD/MP3 or, worse, a metaphor. For Steven Biddy, it’s literal. His indie label, TYP Tapes, releases nothing but cassettes. His latest features one of the best, and most unlikely, Beach Boys cover we’ve heard. While the original (http://bit.ly/LYIhhy) is a stark, profoundly sorrowful affair, this cover drapes the proceedings in beats, horns and strings. It is to the credit of all concerned that none of that diminishes the song’s existential angst in the slightest. (From DIT GSO Mixtape #1, http://bit.ly/1anLB36)

Part of the roster put together by late, great audio auteur Lee Hazelwood (http://bit.ly/ZrphWI), this tragically short-lived ‘60s Detroit girl group has seen a burnishing of its reputation recently. Much of the credit for that goes to Brooklyn synthpop duo Chairlift (http://bit.ly/ebMEY), who covered this particular track on tour last year (http://bit.ly/110Mv05). The original, meanwhile, sounds a little like the Carpenters singing a Laura Nyro song. Or vice versa. (From The Complete LHI Recordings, out July 10, http://bit.ly/17Qljti)

2. ALICE BOMAN

“Waiting”

This is one of those stories that have become increasingly rare: a Swedish singer-songwriter makes a bunch of four-track home recordings to try to convince someone to work with her. That someone instead sends the rough sketches to a label, which decides to release them as-is. Once you hear this leadoff track, you’ll understand why. Homemade in the best sense of the word, it has the same unguarded quality that made Sarah McLachlan’s “Angel” or John Hiatt’s “Have a Little Faith in Me” feel unmediated. Thanks to Alan Williamson of the Sixeyes blog (http://sixeyes.blogspot.ca) for the heads-up. (From Skisser, http://bit.ly/18t0K44)

1. HAERTS

“All the Days”

Though the latest signing to the New York studio/label/collective HeavyRoc Music has exactly two singles to their name, they’re hardly neophytes. Rising from the ashes of folk/alt-country act Nini + Ben (http://bit.ly/11lGjzD), they persevered for four years in Boston, moved to Brooklyn, and made an auspicious debut under their new name with “Wings” (http://bit.ly/16OBiDs). This follow-up proves that was no fluke. Slipping skillfully from 6/8 to 4/4 time, this soaring track is part Daughter (http://bit.ly/y2GzQZ), part The Naked And Famous (http://bit.ly/fGId53). The result could be characterized as expansive melancholy. (http://bit.ly/16RhyUi)

What the hell has happened to Jessie J? On her art-for-art’s-sake breakthrough, “Price Tag,” she was all bangs, hoops and teddy bears (http://bit.ly/fnyS5C). Even the video for the glittery “Domino” (http://bit.ly/rvydFz) projected the image of someone seemingly unaccustomed to dancing in public. Two years on, and not only are the bangs gone, so is almost all the hair, along with anything resembling outerwear. As for the music, it’s primed for the dance floor and features not one but two rap solos: a generic verse from Big Sean and an exhilarating, motor-mouthed spew from Dizzee Rascal. For anyone seduced by the swaying soul of “Price Tag,” it’ll take some getting used to. Just like the video. (http://vevo.ly/116mFsv)

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